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Spellbinding. So readable. The Oracle Virus nerve slams its way into being an “on the edge of your seat” sci-fi thriller. This debut novel doesn’t brake for Hitchcock twists or Phillip K. Dick paranoia. It shreds the veil hiding the madness of a bio-tech WW II experiment gone wrong. The first page is a rabbit hole: why is there a fake Gestapo assassination of Hitler or does it really happen? How does a secret genetics lab survive WWII bombings? How can the Newton machine create reality or how does a nanovirus control people without them knowing it? How is a serial geek murder, a +5 hurricane aiming at Washington D.C., a massive whale stranding, debris in the Potomac, the kidnapping of 20 world presidents, a bloody fight atop the Washington Monument and a secret Louisiana bayou organization connected? Are early critics correct? Is The Oracle Virus the first novel to explore what is happening to America’s new political landscape?

The Oracle Virus may be the most intense sci-fi mystery thriller of 2017. Lock yourself in. Travel through time, fly in and out of world capitals and meet renegade Nazis, a computer genius, Dark Web halt and catch fire code dwellers, Shaolin priests, Interpol’s smartest and toughest agents, insane prophets, dirty cops, and Jack Kavanaugh.

Mix Sherlock Holmes, Jack Ryan, and James Bond together and you have Jack Kavanaugh. A British Interpol agent with special powers, authentic good looks, and a keen mind, Jack is the first high tech rebel who escapes the ho-hum book or film world formula of today’s secret agents. Jack is real because he knows who he is, what he does and what is happening to the world. Plus Jack isn’t a fake stud, some martini drinking Mr. Cool any woman would sleep with because his name sounds like Bond. Kavanaugh is a man that women find sexy because he has a brain and a soul. Jack’s spirit comes through his eyes. But don’t think there isn’t a bottom line: Jack won’t rest until he finds out who destroyed his family and why, pandemic or not. Jack Kavanaugh makes it clear that James Bond maybe dead.

A popular thriller yet serious literature, The Oracle Virus pays homage to McFarlane, Hugo, Dickens, Woolf, Kafka, Hardy, Melville, Camus, Beckett, Borges, Foucault, Dick, Auster, Gibson, Bartheleme and many others whose influences made its writing a gathering of ghosts.

1iqWhat is intelligence? What makes humans Homo sapiens — the intelligent species?Inventing Intelligence is a bold deconstruction of the history of intelligence. Uncoupling our understanding of this most familiar concept from its traditional social science moorings, this book trains a cultural studies lens on intelligence to expose it as yet another form of representation.

Inventing Intelligence charts the history of intelligence from its earliest articulations through to postmodern AI. Individual chapters recount the loving spheres of divine intelligence imagined by Plato, the self-conscious stylings of the Renaissance Man, the politics of intelligence in the Enlightenment, as well as contemporary assessments of digital intelligence and the mysterious adventure of Einstein’s brain. Ambitious in its historical sweep, unflinching in its challenge to conventional wisdom, Inventing Intelligence is for everyone and anyone who used to think that the parameters and the stakes of intelligence—evident in the current controversy over “intelligent” design—had been negotiated and finalized.

310eshbiijl-_bo1204203200_In Romantic Voices Paul Michael Privateer provides a philosophical history of a key component of the Romantic ideology – the problem of a speaking self – by tracing its migration through the literary theory and poetry of the Romantic period. Romanticism, Privateer asserts, can be read as a metaphor of the emerging merchant class and its ideology. This ideology of autonomous individuality is subverted poetically, he contends, by the very voices that presumably should be acting as its agent. Drawing on related modern critical thought, Privateer shows how ideology is both the crucible in which the notion of “Romantic ideology” is created and the measure of soundness by which the representation of individuality in Romantic texts is exposed as false and inherently problematic. Privateer traces the philosophy of identity in Descartes, Locke, Hume, Kant, Hegel, Schopenhauer, and Nietzsche, analyzing the influence of philosophical notions of self on the ideology of traditional and post-structural forms of Romantic literary criticism. He also shows how such Romantic texts as Blake’s “Milton”, Wordsworth’s “The Prelude”, Coleridge’s “Kubla Khan”, and Shelley’s “Alastor” subvert their ideological obligations and, in the process, challenge a dominant component of nineteenth-century socioeconomic thought. “Romantic Voices” provides a new historical study of the evolution of theories of self-identity and the ways in which 18th and 19th century theories of the self became an ideological construct in Romanticism.

 

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